Mamiya NC1000

35mm MF film SLR camera

Mamiya NC1000


Production details
System: Mamiya CS (1977)
Imaging plane
Maximum format:35mm full frame
Mount and Flange focal distance:Mamiya CS [45.54mm]
Imaging plane:36 × 24mm film
Model:Electronically controlled
Speeds:1 - 1/1000 + B
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Shutter-priority Auto
Physical characteristics

Manufacturer description #1




The world's largest maker of professional medium-format cameras introduces the newest 35mm compact automatic SLR.


The same engineers who developed the RB67 PRO-S System, and pioneered the Mamiya M645, designed the new NC1000. Professional photographers the world over know and trust Mamiya cameras. And the same standards of quality and performance that build our name in medium-format photography have been applied to our new 35mm compact SLR camera.


The NC1000 isn't the first compact automatic SLR. Nor is it the second or third. But that fact doesn't bother us. In the long run, the extra time we spent in research, development, and testing will afford owners of the NC1000 a camera with professional quality and durability.


The compact NC1000 weighs less than 24 ounces with the standard 50mm f/1.7 lens. The automatic shutter-speed priority exposure system in the NC1000 allows you to select speeds up to 1/1000 second. Then solid-state electronics handle 35mm photography's most repetituous chore: adjusting the metering system for each exposure. But you also retain the option for manual over- or under-exposures. And a viewfinder display will indicate the proper exposure setting.


The system already includes seven bayonet-mount multicoated lenses and an array of accessories.

It adds up to a precision automatic camera that's lightweight and compact. A new camera with a name that's important because of the company behind the name. It's the 35mm SLR with professional credentials: the Mamiya NC1000.

Manufacturer description #2



Built by the world's largest maker of professional medium-format cameras.

Every Mamiya camera is built to uncompromising standards of quality and performance. And among people who make their living taking pictures, the name Mamiya stands for craftsmanship and engineering excellence.

So when we tell you the Mamiya NC1000 camera has professional cridentials, it's not an idle boast. It's a fact.


Exposure control is automatic. Just select an appropriate shutter speed from one second to 1/1000 second and the camera takes over. Its advanced solid-state shutter speed priority design makes accurate exposures simple. In special lighting or creative situations, you can even override the automatic system. Otherwise, just pick a shutter speed, focus, and shoot.

The NC1000 is a lightweight camera with heavyweight features. With its standard f/1.7 lens it weighs less than 24 ounces, making it one of the smallest and lightest 35mm SLRs on the market today. Yet despite its small size and lightweight design, advanced features haven't been compromised.


A complement of bayonet-mount multi-coated lenses and a selection of accessories make the NC1000 a versatile photographic tool. It's a system that will be hard to outgrow.


Even with its advanced engineering and professional quality, the Mamiya NC1000 is surprisingly affordable. Feature for feature and dollar for dollar, you'd have a long search to find a better camera value.

Manufacturer description #3

The Mamiya NC 1000 is an innovative 35mm bayonet-mount automatic SLR camera which has been developed with Mamiya's superior technology and long experience as a leading manufacturer of professional medium-format cameras.

This new camera offers the ultimate in handling ease because of its compact size and light weight. Moreover, the open-aperture metering system assures that the large, brilliant viewfinder always remains bright, and the exposure automation system is of the popular shutter-speed priority type, in which the camera meter automatically selects the correct aperture in accordance with the shutter speed selected by the user.

The NC 1000 is designed to meet the needs of the amateur and professional photographers alike. To further enhance its remarkable capabilities, a wide range of accessories are available including an adaptor which allows stop-down metering and diaphragm automation with the TL, DTL, SX series and other universal thread (42mm) mount lenses.


Camera Type: Ultra compact, shutter speed priority AE (Automatic Exposure) 35mm SLR with manual override.

Film and Negative Size: 35mm film, 24mm x 36mm.

Lens Mount: Mamiya Bayonet (three-flange, 49mm diameter) Mount

Shutter: Electronically controlled rubberized silk focal plane shutter with range of 1/1000 - 1 sec., B (bulb).

Self-Timer: Variable time delay of approximately 4-9 sec.; has its own Activating Button and can be by-passed.

Sync Terminals: FP, X, and a Hot-Shoe for cordless flash operation.

Exposure Meter: Ultra sensitive center-weighted CdS meter with exposure measurement range of EV 2-18 (100 ASA, f/1.4 lens).

Coupling: With Mamiya-Sekor CS lenses in AE mode: ASA, shutter speed, and lens maximum aperture. With Mamiya-Sekor CS lenses in manual mode: ASA, shutter speed, and lens maximum aperture. Working aperture is directly read from viewfinder Aperture Scale and manually set. With preset lenses: ASA and shutter speed. Exposure measurement is by zero-method stop-down metering.

Film Speed Range: ASA, 25-3200; DIN 15-36.

Viewfinder: Large, brilliant pentaprism SLR viewing. Exposure Meter Indicator Needle, Aperure Scale, and Stop-Down Metering Index Mark visible in viewfinder. Magnification of 0.94X with 50mm lens at infinity. Three-way focusing: Central rangefinder widge at 45 deg. angle surrounded by a microprism collar which is located in a matte field, with finely-grooved Fresnel lens for even illumination.

Mirror: Quick-return mirror, coated for increased reflectance.

Film Advance Lever: Single-action type with short 130 deg. throw and stand-off angle of 15 deg., double-exposure prevention, and with Meter OFF Button incorporated into lever (Meter OFF Button also doubles as Shutter Release Button Lock).

Exposure Counter: Additive type with automatic reset.

Power Source: Two 1.5V silver oxide batteries (Eveready S-76, Ray-0-Vac RS-76, Mallory MS-76 or equivalent) supply the power for the electronic shutter and exposure meter.

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Table of contents
Mamiya CS system cameras

Copyright © 2012-2023 Evgenii Artemov. All rights reserved. Translation and/or reproduction of website materials in any form, including the Internet, is prohibited without the express written permission of the website owner.

35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.


Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),


CF – crop-factor of a sensor,
FL – focal length of a lens.


A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.


The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.


Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.


Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.


Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.